


'Resurrection' Symphony

by Lunasong365



Category: Good Omens - Neil Gaiman & Terry Pratchett
Genre: Classical Music, Gen, Historical, Second Symphony, composer
Language: English
Status: Completed
Published: 2015-07-20
Updated: 2015-07-20
Packaged: 2018-04-10 05:23:15
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 885
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/4378889
Author URL: https://archiveofourown.org/users/Lunasong365/pseuds/Lunasong365
Summary: <blockquote class="userstuff">
              <p>
  <i>Crowley, this ineffable music! I just know this is how it’s going to be at the End Times. Everyone will be saved and everything will be all right because God really does love everyone and everything!</i>
</p>
            </blockquote>





	'Resurrection' Symphony

Austria, 1893

Aziraphale mentions to Crowley how thrilled he is that Gustav Mahler, one of _his_ side’s budding composers, has started work on a Second Symphony. “He’s beginning with a pretty grim premise,” says Aziraphale, explaining about the _Todtenfeier_ (funeral rites) first movement, “but he’s planning to develop it into a magnificent program about the promises and glory of God. Mahler has already written most of the third movement and – you’ll like this – its theme is that old story about St. Anthony preaching to the fishes.”

The demon does indeed like that story about his sainted namesake because he is fully aware of the reason why Anthony of Padua chose to speak to that particular audience, but ensures via a stealthy visit to Mahler’s _Komponierhäuschen_ (composition hut) that Gustav uses Crowley’s preferred text: the sermon is a lesson in futility because fish aren’t affected by proselytizing.

Unbeknownst to Aziraphale, Crowley makes several more visits to Steinbach am Attersee over the next several summers and befriends the composer who, even though the son of a Jewish tavern-keeper, drinks only water at the local inn. Mahler confesses to Crowley that truthfully he is quite pragmatic about religion. “I’m certainly not writing with Christian theology in mind. As a student of existentialism, though, I’m working out my own questions about life and death through my music. Why are we here, and what happens after we die? I’m now known mostly as a conductor, but people don’t remember conductors. As a _composer_ , however, I’ll be remembered as long as people are playing my music – precisely as I have written it. That’s one form of eternal life…”

Mahler worries that his dream of adding a final choral movement will seem derivative of Beethoven’s Symphony No 9. “Nah,” responds Crowley. “Look. Bring back those off-stage brass you used in the First Symphony, but make it bigger! Not just trumpets, but horns! And double everything. No one could call that derivative!”

Mahler is encouraged by Crowley’s exuberance. “I can do that,” he concurs. “More musicians than ever before gathered on one stage, or behind it! It will be the loudest and longest symphony yet…” Crowley inwardly chuckles. Glorifying God is all well and good, but at 120+ orchestral musicians at time and a half, plus soloists and full chorus, it requires deep pockets and a certain amount of paperwork.

Mahler adds, “…but ‘ _Urlicht_ ,’ the fourth movement – that remains an intimate mezzo solo.”

Crowley has a liking for fun-loving mezzos. “I agree. You have to switch this lyric around, though. Make the path ‘little’ and the angel ‘wide.’ Just sounds more truthful.” Truthfully, Crowley can’t wait to see the look on his favourite angel’s face at the premiere when Aziraphale hears it. Mahler demurs however, citing poetic integrity.

***

Crowley and Aziraphale attend the 1895 December premiere of the Second Symphony in Berlin, with the composer conducting. Musicians are stuffed into every square inch of stage available. If Gustav had let the pair know about his splitting headache, Aziraphale would have been able to do something about it, but instead Mahler gamely takes the podium.

Aziraphale is swept up by the eschatological questions posed in the first movement. He writes a note in his program and passes it to Crowley. “Human life is so short – no wonder they contemplate these matters!”

The second movement passes like a favoured and happy memory of the departed, but the third movement – the Fishes _scherzo_ – treats St. Anthony’s sermon as a grotesque joke. Aziraphale frowns and is about to write another comment, but then the piece segues seamlessly into the sublime chamber-like fourth vocal solo movement. Placated, Aziraphale smiles at the _“engelein”_ lyric.

But then the fifth movement begins with a dramatic dissonant fanfare of the trumpets of the Apocalypse: when all shall be judged according to their deeds. As the movement unfolds, it appears as if the peace and love of God will prevail, but then it’s not so certain. More agitated questions seem to be being asked but a definitive cadence continually answers – _yes, everything will be all right_.

A quiet moment halfway through the movement portrays a bird of peace singing over the approaching marching forces of Armageddon. Then— as Mahler later writes: _All is quiet and blissful. There is no judgment, no sinners, no righteous men, no great and no small; there is no punishment and no reward. A feeling of overwhelming love fills us with blissful knowledge and illuminates our existence_. The choir enters with a reassuring message of God’s unending love. Aziraphale cries at the magnificent ending and even Crowley has to admit he is affected.

Afterwards, in queue to congratulate the composer/conductor, Aziraphale grips Crowley’s arm.

“Crowley, this ineffable music! I just know this is how it’s going to be at the End Times. Everyone will be saved and everything will be all right because God really does love everyone and everything!”

Crowley looks at Aziraphale sharply and the angel drops his hand.

“This was written by a _man!_ Not God! Not GOD! Just like all of God’s wordsss are transscribed by men! I don’t trussst, don’t believe, _any_ of it! I only believe in what I know humans are capable of…” and here the demon grins reassuringly back at Aziraphale and drops his tone, “… and this human is _exceptional_.”

**Author's Note:**

> Sources:  
> https://nmphil.org/music-in-new-mexico/mahler-2-program-notes/ includes English translation of all texts.  
> http://www.wqxr.org/#!/story/187697-mahlers-second-story-within-symphony/ a great source if you want to hear this 90 minute symphony condensed to 11 minutes with superimposed program notes.  
> http://www.carnegiehall.org/About-the-Music/Golden-Age-of-Music-Mahler-Second-Symphony/ biographical information
> 
> The author performed this symphony in May 2012. It was the most orchestral musicians I have ever seen assembled on one stage.  
> ***  
> Mahler’s Second Symphony was later nicknamed ‘Resurrection’ for its affirmative theme of life after death. Mahler continued to write innovative and large scale symphonic works throughout his lifetime, including the Sixth Symphony (the one with the hammer blows) the Eighth Symphony (nicknamed ‘Symphony of a Thousand,’ for the number of people required to perform it) and _Das Lied von der Erde_ (Song of the Earth, his 10th large scale orchestral work, so named because he was superstitious about completing more symphonies than Beethoven). 
> 
> Mahler is notorious among musicians for his detailed score markings that give precise instructions on how to interpret his works. He converted to Roman Catholicism in 1897 in order to obtain a posting as director of the Court Opera in Vienna. He died in 1911 of a blood infection; the discovery of penicillin still seventeen years away.


End file.
